Audiovisual Translation (subtitling)

The purpose of the present research is to propose creative subtitles to the first season episodes of TV show The Bridge (2013) that highlight the mixture between the Spanish and English languages. The specific objectives are: i) to categorize the alternances between English and Spanish according to the theory of Gumperz (1982); ii) to analyze and comparing the Brazilian official and non-official subtitles, observing the choices made regarding to this languages mixture by Netflix translators (professionals) and L.O.T.Subs (fansubbers); iii) to analyze/justify the proposed creative subtitle in comparison with Netflix and L.O.T.Subs subtitles. The theory used in this research is composed by the theory of Languages in Contact of Gorovitz (2012), Codeswitching by Gumperz (1982), subtitling by Cintas (2007) and creative subtitling by de McClarty (2012). The subtitles proposed in the research highlight the codeswitching through the use of subtitles with distinct colors for each kind of switch and it also keeps the Spanish untranslated in the subtitles to reinforce the situation of code mixing.

En este estudio experimental comprobamos la aceptabilidad y el disfrute de una propuesta de subtitulación para sordos (SPS) alternativa, que apuesta por el uso de iconos para representar la información paralingüística y los efectos sonoros. Así, la reducción del número de caracteres que esto supone podría aumentar el tiempo para procesar otros aspectos, como la lectura de los diálogos o la imagen. Un total de 114 personas con discapacidad auditiva participaron en este estudio, que consta de un grupo de control, en el que los encuestados vieron un vídeo con SPS tradicional, y un grupo experimental, en el que visionaron nuestra propuesta alternativa. Los resultados muestran que el uso de iconos no aumenta el nivel de aceptabilidad y disfrute con respecto a la SPS tradicional, y que la SPS con iconos fue más efectiva en las personas oralistas, quienes manifestaron que les ayudó a entender mejor la información sonora. Si bien la preferencia por la descripción verbal es mayoritaria, no se manifiesta un rechazo generalizado de la propuesta con iconos. Además, los datos revelan que las personas con discapacidad auditiva valoran en gran medida la representación de la información sonora, incluso cuando puede inferirse de la imagen.

Translation wird weitgehend auch von Nicht-Profis praktiziert und soll daher als allgegenwärtige Praxis betrachtet werden. Diese Tatsache wird allmählich von der Translationswissenschaft (TW) systematisch berücksichtigt und stellt die Disziplin vor neue Herausforderungen. Mittels der Polysystemtheorie wird hier gezeigt, dass die TW zurzeit eine periphere Position im System der wissenschaftlichen Disziplinen einnimmt, teilweise auch deswegen, weil sie auf andere Disziplinen angewiesen ist (Interdisziplinarität). Doch wenn man die Translation als eine allgegenwärtige soziale Praxis betrachtet, so ergibt sich ein Potenzial für die TW, nämlich Wege zu berücksichtigen, wie sie andere Disziplinen beeinflussen kann, anstatt lediglich von ihnen geprägt zu sein. In diesem Beitrag wird davon ausgegangen, dass die Translationsdidaktik auch darauf abzielen kann, a) die für die Translation erforderliche komparative Kompetenz auch anderen Berufen zu vermitteln, und b) diese Kompetenz allgemein als eine besondere Form der Literalität anzusehen, um zukünftig eine zentralere Position für die gesamte TW zu sichern.

Chinese animated films are increasingly visible on the global stage, yet their cross-cultural communication depends heavily on effective subtitle translation. This study examines the English subtitles of the 2025 animated film Nobody.........................

This study examines the challenges and strategies of subtitling the political interview War on Gaza and the Collapse of the West’s Civilizational Supremacy Image from Arabic into English, featuring Palestinian Ambassador Husam Said Zomlot. The project addresses the complexities of translating political discourse, which is rich in historical references, ideological nuance, and culturally sensitive terminology. Drawing on Gottlieb’s (1992) subtitling strategies model, this research explores how subtitling differs from conventional translation due to spatial and temporal constraints that require condensation, adaptation, and cultural mediation.

The analysis contrasts human and AI-generated subtitles, showing that while AI offers speed, it frequently produces literal or inaccurate translations and fails to capture cultural nuances or context. Human subtitling, by contrast, provides accuracy, sensitivity, and effectiveness in delivering the speaker’s intended message to diverse audiences.

The findings emphasize subtitling not only as a linguistic transfer but also as a form of political communication that shapes audience perception and challenges dominant media narratives. In an era of increasing automation, this research reaffirms the indispensable role of skilled human translators, positioning subtitling as both a technical process and a critical act of cultural and political advocacy.

Some limitations that come with learning a new language affect a university students' capacity to read the material for their research. In universities where English is not a native language, teachers have noticed that students need to improve their vocabulary, grammar, and reading comprehension. Direct contact with fluent English speakers not only exposes them to different patterns of their language but also helps the students build self-confidence and strengthen motivation. The implementation of intercultural programs in universities aimed at exposing students to the English language will open a broader gate to research possibilities in their field. By developing an upper-intermediate English proficiency level, a students' mind can directly perceive the patterns and peculiarities of the language. This paper explores the research opportunities for students made available to them by participating in immersion programs. Organizing such programs on campus ensures higher chances of developing research skills. Students who were unable to read English literature and who participated in such programs were not only satisfied with the language proficiency acquired but also became curious and felt encouraged to read literature written in English in their field. The effectiveness of such programs designed for high school students cannot be compared to any other teaching approach.

The purpose of this descriptive study is to investigate the most common Audiovisual English subtitling strategies in Lollywood and Bollywood movies with the help of frequency and percentage of the use of these strategies during the subtitling process adopted in English subtitled Pakistani and Indian Urdu movies. The study also attempts to find out the significance of subtitling in the process of subtitling adopted in English subtitled Urdu movies. The framework of this descriptive study is based on Gottlieb's (1992) strategies. Mixed method approaches are used to obtain and evaluate data. To achieve this goal, subtitles of movies are used as study material and three English subtitled movies from Lollywood and three English subtitled movies from Bollywood are selected and their dialogues are chosen for data analysis. This study reveals that these movies are subtitled by adopting specific strategies which have significant application in many ways. It is hoped that this study is helpful for translators, subtitlers especially Pakistani subtitlers, and students of translation. It suggests helpful solutions and techniques for the betterment of subtitling strategies in movies and also tries to provide a base for future studies in the field of Audiovisual Translation.

In the last decade, the media localization industry has observed a major shift in the way audiovisual content is localized, broadcast, and consumed by multifaceted audiences (Massidda 2023). Linear TV has surrendered to subscription video-on-demand (SVOD) services characterized by the novel freedom provided to viewers by streaming platforms such as Amazon Prime, Disney+, HBO and Netflix. New audiences around the world plugged into SVOD systems have virtually never-ending catalogs at their disposal and decide when and how to watch the content available, taking the driver’s seat in a process that had never been in their hands util now. As a result of a series of epochal changes in the industry, both technological and mediatic in their profound nature, media participation has greatly evolved in the last few years. 
Audience participation in the digital age, popularized by Danmu (in Chinese 弹幕, meaning “bullet curtain”) a form of online commenting system by which viewers post their comments on top of audiovisual content, has proliferated enormously in the last few years thanks to the rise of subtitling (Diaz Cintas and Massidda 2019). The peculiarity of Danmu, as opposed to other ‘participatory culture’ (Jenkins 2009) modalities, is the lack of an orderly fashion in the way content is delivered, ‘projected on the screen, floating horizontally through the video, and overlaying the original content’ (So 2017: online) this way reflecting the naturalness and spontaneity of oral speech. The Danmu phenomenon mainly trends in East Asian countries, but in China has particularly boomed and become a default feature in most video websites. This chapter will outline how the latest trends in audiovisual translation (AVT) – and subtitling in particular – have shaped today’s media participation in the digital age.

In the last decade, media industries have witnessed a shift in the way audiovisual content is localised, broadcast, and consumed by multifaceted audiences: from traditional linear TV to subscription video-on-demand (SVOD) services. While this major shift has been well-documented by media studies scholars (Lotz 2014; Lobato 2017a, 2017b; Storstein Spilker and Colbjørnsen 2020), the overall effect it has had on audiovisual translation (AVT) is relatively under-researched within Translation Studies. Hence, this article aims to delve into the current state of the art of AVT within a mediascape dominated by non-linear over-the-top (OTT) platforms. Drawing on the impact that streaming solutions such as Amazon Prime, Disney+, and Netflix have had on the acceleration of AVT workflows worldwide as a way to localise a high volume of content created to reach global audiences, my analysis focuses on their impact on the way subtitling workflows are managed and turnaround times scheduled. This study focuses on the day-of-broadcast (DOB) model, the media release strategy intended to make audiovisual content available 'now and everywhere'. The disruptive nature of DOB models in localisation workflows is investigated using a case study, the ad hoc subtitling workflow devised for Netflix's Chelsea, and analysed using a qualitative research method. The aim is to unveil the practices behind the scenes of the first global talk show subtitled in twenty languages with a turnaround time of only fourteen hours.

The Thai government describes the phenomenon of Thai Y-series as soft power that generates money for the country in this article. The information is collected from the websites that have news about the Y-series from June to August 2024 to find the interviews of politicians, government officials, Y-series producers, directors, and male actors, including reading news about the marketing promotion of Thai Y-series internationally. Drawing on Young' s (2008) concept of discursive practices as a framework for analysis to point out that the Thai government constructed soft power language, narration, and discourses. This article is that the Thai Y-series is a cultural product that interprets soft power for Thailand, but it is narrated in terms of economics and marketing. Under this governmental definition, the Thai Y-series has become a symbol of international business success but not a mechanism to promote LGBTQ rights and social equality in Thailand. However, the meaning of soft power exists among the interactional responses of many groups of people with different ways of thinking. Soft power's discursive practices reveal the system of power through which the Thai state controls the hegemonic truth about the Y-Thai series.

In the face of linguistic and cultural untranslatability, translation emerges as a strategic act rather than a purely mechanical process. This paper presents a comprehensive inventory of translation strategies, grounded in both theoretical frameworks and practical considerations. It begins by exploring the concept of strategy through various academic lenses, distinguishing it from tactics, and identifying its core elements and domains. The study then shifts focus to translation-specific strategies, examining the requirements for strategic choice and the structural and functional factors that shape it. These include text type, language function, levels of signification, and the cultural and communicative contexts of both the source and target texts. Strategies are categorised into direct, oblique, and global types, encompassing literal translation, calque, modulation, adaptation, and broader approaches such as foreignisation and domestication. Through this layered classification, the paper highlights the need for adaptive, context-sensitive decision-making in the translation process. Ultimately, it argues that facing untranslatability requires more than technical skill-it demands a dynamic, reflective, and strategic engagement with meaning across languages and cultures.

This study focuses on creative practices in media accessibility. It examines the differences between the conventional approach to subtitling for the D/deaf and hard-of-hearing (SDH) and an emergent creative approach experimented with by Netflix, with a special focus on the descriptive quality of SDH tags. It explores the extent to which SDH subtitlers steer away from standard norms and practices when granted creative freedom by the client and the extent to which their authorial input is visible. A secondary aim is to observe whether there is also an element of authorial intent suggesting the possibility of some kind of agenda. To this end, this study engages in an in-depth comparative analysis of two episodes of the Netflix TV series Stranger Things, one belonging to the first season, following the conventional approach, and the other to the fourth season, in which subtitlers were given free rein. The SDH tags in each episode were singled out, quantified, and categorized according to Chaume's (2004) taxonomy of filmic signifying codes (linguistic, paralinguistic, musical, special effects, sound arrangement, photography, mobility, planning). The analysis also reveals which categories are impacted the most by the creative input. The main findings reveal how subtitlers adopting this freer approach tend to stress the communicative meaning of the SDH tags, enhancing the hearing-impaired users' experience. To achieve this, they use a vaster number and variety of adjectives (compared to conventional practices) while trying to create terms that resonate on a sensory level with the specific genre and plot.

Na área da traducão audiovisual (TAV), uma das modalidades de traducão mais antigas e largamente usadas é a legendagem. Atualmente, essa modalidade de traducão vem se tornando cada vez mais necessária, especialmente devido às demandas em prol da acessibilidade, o que levou ao nascimento da Legenda para Surdos e Ensurdecidos (LSE), 1 considerada uma modalidade da subárea da Traducão Audiovisual Acessível (TAVA). A LSE se constitui num texto escrito, geralmente apresentado na parte inferior da tela e segue todos os parâmetros das legendas para ouvintes. Contudo, nela são adicionados elementos descritivos como: a trilha musical, os efeitos sonoros, as informações paralinguísticas (tom de * Graduada em Letras Língua Estrangeira Moderna ou Clássica (Inglês) pela Universidade Federal da Bahia (UFBA). Integra, como pesquisadora voluntária, o grupo de pesquisa Tradução e Acessibilidade (TrAce) do Instituto de Letras da UFBA. Lattes: ** Doutora em Educação e mestre em Letras e Linguística, ambos pela Universidade Federal da Bahia (UFBA). É professora adjunta do Instituto de Letras da UFBA e Coordenadora do grupo Tradução e Acessibilidade (TrAce) do Instituto de Letras da UFBA. Lattes: 1 Esse recurso é usualmente preferido pelo público ensurdecido, enquanto que o público surdo tem preferência pela TALS (Tradução Audiovisual da Língua de Sinais), termo cunhado por Nascimento e Nogueira ( ), que ocorre na janela de Libras. Contudo, nem sempre a TALS é ofertada. Além disso, a presença da LSE em produtos audiovisuais garante aos surdos a possibilidade de contato com a Língua Portuguesa de maneira lúdica, ajudando no desenvolvimento do bilinguismo.

Abstract:
This paper examines the subtitling of cultural references in the first season of The Office (U.S. version), aiming to assess whether domestication or foreignization predominates, and how translators' decisions are shaped by patronage constraints. Using Toury’s (1995) DTS methodology and Pedersen’s (2005) taxonomy, 68 culturally significant tokens were analyzed. Findings show a tendency toward foreignization, even in the absence of explicit enforcement by Netflix’s style guide. The study highlights how contextual and normative factors influence translation choices and suggests that globalization has fostered greater tolerance for foreign culturemes among Spanish-speaking audiences.

Keywords:
Audiovisual translation, Subtitling, Cultural references, Domestication and foreignization, Patronage


Resumen:

Este trabajo analiza la subtitulación de referentes culturales en la primera temporada de The Office (versión estadounidense), con el objetivo de determinar si predomina la domesticación o la extranjerización, y cómo influyen las restricciones impuestas por el patronazgo. Aplicando la metodología DTS de Toury (1995) y la taxonomía de Pedersen (2005), se identificaron 68 tokens culturalmente relevantes. Los resultados revelan una tendencia hacia la extranjerización, incluso cuando las guías de estilo de Netflix no intervenían directamente. Se concluye que las decisiones traductológicas están condicionadas por factores contextuales y normativos, y que la globalización ha incrementado la aceptación de culturemas extranjeros por parte del público hispanohablante.

Palabras clave:
Traducción audiovisual, Subtitulación, Referentes culturales, Domesticación y extranjerización, Patronazgo

This paper aims to find out what actually the industry needs from their translators when performing Audiovisual (AV) translation, and whether the academic environment, in this case the English Department of Universitas Brawijaya Malang, has fulfilled the industrial needs. From the results of academic document observation and questionnaire to owners of an Indonesian localization company, the authors make some recommendations to include the topic of AV translation in the course of translation that is currently available in the aforementioned English Department. The topic is comprised of the basic concepts of AV text and AV translation, practice of dubbing script translation, and practice of subtitling. The modification of the available course is expected to make the course more relevant to the current needs.

In this study, the researchers focus on the types of humor based on the theory of Raphaelson-West (1989), translation strategies according to Gottlieb (1992), and the level of translation acceptability according to Nababan (2012) by using qualitative descriptive method which is used because the purpose of this study is to explain the phenomenon of translating humor subtitles in the Superstore series. The results show that the most common type of humor is universal humor with a total of 48 data, cultural humor with 37 data and linguistic humor with 25 data. The most frequently used translation strategy in the subtitles is transfer strategy with 43 data, while expansion and resignation are the least used with 2 data. Of the 110 data analyzed, 67 data fall into the acceptable category and only 3 data are unacceptable, which means that the subtitle translation is acceptable. Data collection is done by watching all seasons then selecting utterances that contain humor and classifying them based on the theory used. The transfer strategy is most used for universal humor, while paraphrasing is more dominant in cultural humor. Thus, the translation of verbal humor in the series is natural and relevant to the Indonesian language, and is able to maintain meaning and humor.

This dissertation could not have been completed without the guidance, advice, and support from many people. My first and deepest gratitude goes to my advisor, Asst. Prof. Dr. Suda Rangkupan, who devoted her time supervising and guiding me through the whole process of research. She gave me advice not only on how to analyze the data from a linguistic perspective but also on how to see research as part of the whole learning experience that would contribute to my own personal growth as well as the growth in the field of the study. It was therefore really a privilege to work under her supervision.

Discussion of translations from the 19th, 20th and 21st centuries into Danish, Swedish and Norwegian, including my own. Plus a discussion of the expression “Odi et amo": Hate vs. Love, or Loathing vs. Desire? Also a tentative English translation, following Brian Arkins' interpretation. Finally, a etymological discussion of the verb “excrucior”, derived from “crux”, cross: does it contain an active reference to crucifixion (a not only cruel but humiliating punishment), or is it mainly a dead metaphor?

Sex can be considered a vulgar, forbidden or unwelcome topic in many contexts and this fact can add a challenge to subtitlers of audiovisual products depending on the cultures and languages involved (Ávila-Cabrera, 2024). Although some authors claim that sexual references tend to be altered, mitigated or omitted when dubbing (Ferrari, 2010; Scandura, 2021) and subtitling (Fuentes-Luque, 2020) from English into neutral Spanish, other researchers such as Villanueva-Jordán (2023) have demonstrated through a case study that neutral Spanish for the Latin American audience does retain sexual references in dubbing. This paper examines the subtitling of the four seasons of the TV series Succession (Armstrong, 2018-2023) from US English into Spanish (from Spain), as broadcast on Max (formerly HBO España). The primary objectives of the study are as follows: (1) to explore the extent to which sexual references from the source text are transferred to the target text. To achieve this, we will analyse the transfer through the lens of Descriptive Translation Studies (Toury, 2012). (2) To determine how sexual references are treated in the translated text, whether they are rendered using explicit sexual language or replaced with other taboo or offensive phrases. For this, we employ Ávila-Cabrera's (2023b) taxonomy of translation techniques to examine the handling of these references and assess whether the taboo load is preserved in the subtitles. (3) To identify the most recurrent translation techniques used. Among the expected findings, we aim to test our initial hypothesis that considers that sexual phrases tend to be transferred as closely as possible in the subtitles in this TV series. In summary, our intention is to contribute to the literature of the treatment of sexual language in interlingual subtitling through this paper.

The rise of intralingual blogger subtitling on YouTube has introduced innovative practices in today's mediascape, particularly through the use of subtitles that include notes. These affective subtitles may enhance audience engagement and inclusivity by helping viewers better understand and connect emotionally with the content. Nonetheless, subtitling on YouTube, particularly from an affective labor angle, remains relatively unexplored. To fill this void, the study focuses on the popular Persian YouTube channel @Kouman, known for its entertaining content targeted at Persian-speaking audiences. Informed by theories of affect theory and affective self-mediation, this study examines how captions create a platform for materializing affective labor through subtitlers' notes, which convey their voice and inner thoughts to create a more personalized viewing experience. The findings suggest that these notes function as a form of affective labor, exhibiting subtitler's witty remarks and inner thoughts that shape how the video content is felt and understood. These affective and embodied strategies help build affective bonds with the viewers, creating a stronger connection between them and the channel. This study argues that translation theory should reconceptualize subtitles as dynamic, mood-shaping assemblages rather than mere conduits of dialogue.

This contribution reflects on how fan translation in manga and anime can serve as an informal yet impactful space for developing translation skills among aspiring professionals. Despite the growing global demand for specialized translators in the audiovisual and entertainment industries, particularly in the booming sectors of manga, anime, and video game localization, few academic programs offer targeted training in these areas. As a result, a significant gap remains between formal academic curricula and the actual needs of a rapidly evolving and globalized media market. In this context, fan translation communities have emerged not only as spaces of participatory culture and affective engagement, but also as de facto ecosystems of experiential learning and professionalization. This reflection draws on both empirical observation and professional experience to examine how fans-motivated by passion, linguistic exploration, and cultural curiosity-develop translation strategies, project management skills, and technological competencies that closely mirror those required in professional environments. The trajectory from fan to professional translator is not exceptional but increasingly common, particularly in specialized fields where formal training is scarce. Translators such as Alessandra Moura, Frederick Schodt, and the author of this contribution exemplify how formative experiences in fan translation have shaped professional paths in publishing, audiovisual localization, and streaming platforms. Similar trajectories can be observed globally among figures such as Clyde Mandelin, whose fan translation of Mother 3 helped launch his professional career; Andrew Hodgson, who transitioned from fansubbing Steins;Gate to working in localization at PQube; and the Geofront team, whose fan project for The Legend of Heroes: Trails from Zero was officially adopted by NIS America. Similarly, groups like Sekai Project evolved from fan translators into recognized industry players, while others, such as Dakkodango, have influenced localization standards and audience expectations despite remaining within the fan domain. These trajectories highlight the international reach and pedagogical value of fan translation as an informal training ground for future professionals, as well as the educational processes embedded in these informal spaces. These include not only the development of linguistic and technical proficiency, but also the cultivation of intercultural competence, collaborative work ethics, and multimodal literacy. While fan translation has historically been marginalized or viewed as amateur, there is growing recognition-both in the industry and among scholars-of its role in preparing translators to navigate real-world professional demands, especially in areas where fidelity to cultural nuance, speed, and creative negotiation are key. Furthermore, fan translation communities operate with peer review mechanisms, editorial hierarchies, and workflows that simulate professional environments, offering aspiring translators a space to test, refine, and internalize their skills. This paper argues that such communities function as legitimate and powerful learning environments, where knowledge circulates laterally and affectively, and where participants build competences often unattainable through traditional academic routes. In addition, fan translation fosters a form of critical media engagement, allowing participants to reflect on authorship, censorship, localization strategies, and the politics of access to cultural content. These elements contribute to a broader, deeper understanding of the translation act itself-not merely as linguistic substitution, but as a creative, ethical, and socially embedded practice. In this way, fan translation becomes both a training ground and a critical pedagogical space. Ultimately, this contribution calls for a revaluation

This study explores the pedagogical potential of popular culture through the lens of Sailor Moon, a globally recognized manga and anime franchise that has played a significant role in shaping discourses around gender, sexuality, and identity for over three decades. Situated at the intersection of queer theory, media studies, and educational research, this study reflects on how Sailor Moon functions as a transmedia educational tool-one that not only entertains but also informs and challenges audiences' understanding of normative gender roles, heteronormativity, and identity formation. This paper examines the narrative, visual, and linguistic strategies deployed across the franchise's manga and anime versions to explore how gender and sexuality are represented in ways that deviate fromor directly subvert-conventional binaries. The character arcs of protagonists such as Haruka Tenoh (Sailor Uranus), the Starlights, and even Usagi Tsukino herself offer models of gender fluidity, samesex affection, and performative femininity that resist simplistic classification. These representations become particularly potent when examined within the context of their circulation across different cultural, linguistic, and historical spaces, as Sailor Moon has been translated, adapted, and consumed in multiple languages and media formats across the globe. This fluidity across platforms positions Sailor Moon as a uniquely pedagogical text-not in a formal classroom sense, but as part of a broader ecology of learning where media serves as a site of informal, identity-centred education. By examining how Sailor Moon enables audiences to engage with complex questions of gender identity and queerness, the paper argues that popular media franchises can play a central role in shaping young audiences' attitudes toward diversity, empathy, and inclusion. Adopting a primarily qualitative approach, the analysis draws on narrative elements from specific episodes and manga arcs that foreground themes of transformation, desire, and resistance to gender norms. It also considers transmedia storytelling strategies and character design as pedagogical devices, paying close attention to how visual symbolism, language choices, and relationship dynamics are used to frame identity as something fluid, performative, and context dependent. The findings suggest that Sailor Moon's repeated emphasis on transformation-both literal and symbolic-acts as a metaphor for identity exploration and self-acceptance. In doing so, it fosters a space where audiences, especially queer and gendernonconforming youth, can see themselves represented, validated, and empowered. Furthermore, by embracing emotional vulnerability, friendship as a form of resistance, and the coexistence of strength and softness in its heroines, Sailor Moon challenges deeply rooted gender stereotypes and contributes to a more inclusive vision of heroism and selfhood. Ultimately, this paper positions Sailor Moon as an example of how media-when approached critically-can function as an educational force capable of queering cultural expectations and nurturing inclusive values that extend beyond the screen or page. In doing so, it invites educators, researchers, and media consumers to recognize the transformative potential of cultural texts in shaping how individuals come to understand themselves and others. This work has been prepared within the broader framework of exploring queer pedagogies and identity formation in global media.

Audiovisual translation (AVT) is a well-established field of study in academia and is ripe with research opportunities for scholars (Pérez-González 2020; García-Escribano 2025). A dynamic and multifaceted area of study within AVT is the translation of taboo and offensive language, which has been of rising interest in the last two decades. The vitality and richness of this research area are evident in a burgeoning body of research on the topic (see Valdeón 2024). In this context, the book The Challenge of Subtitling Offensive and Taboo Language into Spanish: A Theoretical and Practical Guide makes a valuable contribution to current scholarship and offers a reliable reference for subtitling training and research. The present literature on the translation of taboo and offensive language is grounded on two main strands of research: how AVT translators handle taboo and offensive language (i.e., translation strategies) and how the socio-cultural environment of the receiving culture governs translators’ renderings. Given that the translation of taboo and offensive items is highly culture-dependent, it has been studied in various European (Guillot 2023; Ávila-Cabrera 2016; Xavier 2022), Asian (Khoshsaligheh, Ameri, and Mehdizadkhani 2018; Al-Zgoul and Al-Salman 2022; Jin and Ye 2023) and Latin American countries (Cândido Moura and Iost Vinhas 2023). Recent studies have ignited a burst of new investigations in the field by incorporating audience and reception studies (Pavesi and Zamora 2022; Chen 2022; Moura 2024), cross-cultural studies (Guillot 2023) and English-language AVT (Barrera-Rioja 2023), among other things.

Advancing digitalization and globalization require high-quality translations of specialist terminology, particularly in the field of information technology (IT). This article examines the specific challenges that arise when translating German computer terminology into Russian. Particular attention is paid to the problems of equivalence, cultural adaptation and the dynamics of terminology.

Modern translation devices cannot achieve the expected accuracy as they cannot make up the target text as original as the source text on either the cultural or linguistic level. Translation quality is expected to be a critical academic area, especially concerning audiovisual translation, as it cannot be generated by a machine-translator due to its multidimensional nature. The reason for applying political translation in this study is the linguistic and cultural richness of political discourse, as many political texts are defined and understood in terms of ideology, culture, and political circumstances. The present paper adopts a qualitative aspect. It will be applied through a comparative approach as the study will compare both source text (discourse) and target texts (discourse) according to Juliane House's model. House's model is applied due to its comprehensiveness, which analyzes translation according to many aspects including lexical, syntactic, and textual meanings. In addition, House's model applies the communication theory of "sender-receiver" to the text for defining the accuracy of translation in terms of the relationship between the sender and the receiver. Here, the significance of the study is to testify and examine Juliane House's as a translation quality assessment model and its efficiency assessing and evaluating audiovisual political translations of Arab intermediate translators.

La fraseología tiene su origen en los trabajos de Charles Bally a principios del siglo XX. Posteriormente, se estudia como disciplina científica en los años cuarenta por la lingüística soviética, siendo su principal impulsor el lingüista ruso Vinogradov, que en 1947 estableció las bases teóricas y conceptos fundamentales para la investigación de esta disciplina, estudio que tuvo su prolongación en los trabajos de fraseología de la Europa oriental, sobre todo en la República Democrática Alemana . Por lo tanto, la fraseología es una disciplina bastante reciente, cuyo objeto es estudiar aquellas unidades léxicas que "se caracterizan por su alta frecuencia de uso y de coaparición de sus elementos integrantes; por su institucionalización; por su idiomaticidad y variación potenciales" (Corpas Pastor, 1996, p. 20). En España, no se considera la fraseología como disciplina científica hasta que Casares en 1950 publica su obra Introducción a la lexicografía moderna, en la que dedica algunos capítulos al estudio de las locuciones, las frases proverbiales, los refranes y los modismos, entre otras unidades. Dicha disciplina se ha estudiado desde diferentes perspectivas por parte de diversos investigadores españoles, y las clasificaciones de las unidades fraseológicas (en adelante UFs) más representativas en la lengua española son planteadas por Casares (1950), Coseriu (1977), Thun (1978), Zuluaga (1980), Carneado Moré y Tristá Pérez (años 70 y 80), Corpas Pastor (1996) y Ruiz Gurillo (1997). 1 Este trabajo ha sido subvencionado por los fondos de investigación de Guangdong Planning O ce of Philosophy and Social Science (广东省社科规划项目"莫言小说在西语国家译介研究"，项目编号：GD-18CWW07) y de China National Committee for Terms in Sciences and Technologies (全国科技名词委 科研项目"汉西术语对比及翻译研究"，项目编号：WT2019003).

Özellikle 1980’lerden itibaren özerkleşmeye başlayan çeviri eğitimi kısa bir zaman diliminde, teknolojik ivmelenmenin de etkisiyle, teknoloji odaklı yeniliklere uyum sağlamayı başarmış ve bu yeniliklerden beslenen alanlardan biri olarak görsel-işitsel çeviri, öğretim programlarına kademeli şekilde kazandırılmaya başlanmıştır. Çeviri eğitiminin sınırlarının genişlediği bu dönemde profesyonel çevirmenlerin görsel-işitsel çeviri alanında yetkinliğe sahip olmaları adına atılan adımlar, zaman içinde doğan ihtiyaçlarla birlikte bugün yerini yeni yönelimlere bırakmıştır. Demokratikleşen teknolojinin bir sonucu olarak profesyonel olmayan çevirmenlerin de katılımcı kültürdeki aktif varlığı, çeviri eğitiminin profesyonel çevirmenleri çağın ihtiyaçlarına uyum sağlayabilecekleri şekilde hazırlamasını da gerekli kılmıştır. Bu doğrultuda çalışma, Türkiye’deki görsel-işitsel çeviri eğitimine ışık tutmak amacıyla, profesyonel çevirmenlerin altyazı çevirisindeki yetkinliklerine odaklanmıştır. Kitle kaynaklı bir çeviri projesinden toplanan İngilizce-Türkçe dil çiftindeki veriler, Jan Pedersen (2017) tarafından dillerarası altyazıların kalitesini ölçmek üzere önerilen FAR Model çerçevesinde analiz edilmiştir. Dillerarası altyazıların ‘işlevsel eşdeğerlik’, ‘kabul edilebilirlik’ ve ‘okunabilirlik’ olmak üzere üç ayrı yönden incelemeye tabi tutulduğu bu model, çeviri kalitesine etki eden hataların gerekçeleriyle birlikte belirlenmesine de yardımcı olmuştur. Karma yöntemli analiz sonucunda, profesyonel çevirmenler tarafından üretilen dillerarası altyazılar, hem aynı çeviri projesinde faaliyet gösteren profesyonel olmayan çevirmenlerin ürettiği altyazılara ait kalite skorları hem de grup içi skorlar dikkate alınarak irdelenmiştir. Elde edilen bulgular içerisinden profesyonel ve profesyonel olmayan çevirmenlerin ortalama uygunluk oranları arasındaki fark ön plana çıkmış, ayrıca bazı profesyonel olmayan çevirmenlerin diğer çevirmenlere göre daha yüksek kalitede altyazılar üretebildiği de tespit edilmiştir. Yürütülen araştırma, dillerarası altyazı kalitesi perspektifinden Türkiye’de görsel-işitsel çeviri eğitiminin eksik ve geliştirilmesi gereken yanlarına dikkat çekerken çeviri yetkinliğinde eğitimin etkisine de yanıt aramaktadır.

As the scheduled release date for the South Korean series "Love in the Big City" (Oct 21, 2024) approaches, conservative movements in South Korea have taken to the streets to protest against the release of the drama. The movement caught the attention of Brazilian BL fans who mobilized on social media in the name of freedom and the defense of LGBTQIAPN+ rights.

Paradigmatic trends in the evolution of the Russian Translation Studies:
pro and contra Roman Jacobson

The paper accounts for and analyzes at the same time paradigmatic trends in the evolution of the Russian Translation Studies, referred to as Standard (or Classical) Translation Theory. These are considered to be partly induced by the radical propositions of the two culture-based  conceptions of Translation Studies, namely  Cultural Turn and Cultural Translation. It is argued that the paradigmatic shifts in the Russian Standard Translation Theory are due to new conceptual interpretations of such notions as faithfulness (double loyalty),  manipulation, intertextuality,  translators’ status and role, cultural and cognitive dissonance. The methodological issues emphasized in this analytical study are rational (objective, positive) and irrational (mythological, mythopoetic, ethical, ideological, mystical) approaches to understanding and explaining translators’ activities, the act of translation and the subject of Translation Studies. The paper accounts for three translation traditions: Russian, French, and Anglo-American.

Translator training programs worldwide offer translation technology courses to meet the market's growing needs, and translation programs in the Arab world are no exception. Developing 'technological competence' should be reflected in the curricula of translator training programs (See, Kenny 2020, Pym and Torres-Simón 2020, O'Brien 2019). However, the focus on technological competence varies across translator training programs around the world. This study aims to pinpoint the importance of technology in MA programs in Jordan. Furthermore, it determines whether technology-connected courses are acknowledged in the program descriptions and objectives. To conduct this study, all the Universities with MA in translation and/or translation and English programs in Jordan were recognized. In addition, a corpus of all MA programs with translation technology courses, course descriptions, and program objectives was also gathered. As a final point, a comprehensive explanation and examination were carried out to recognize technology in MA programs in Jordan. The outcomes of this study indicate that 'technological competence' is widely disregarded in the huge mainstream of MA translation programs curricula in Jordan.

Building on previous studies about "non-confrontational" activism among Chinese queer translation groups, this article explores the subtitling and social media practices of Wanwan, a Chinese lesbian-oriented fansubbing group, from a cultural-ideological perspective. It argues that Wanwan's practices can be better understood in the context of han-xu (含蓄, reticent) politics, shaping a non-confrontational activist approach to fansubbing. This approach is manifested through diversified content that involves both queer and non-queer media resources, recontextualised translated subtitles, the creation of spaces for interactions, and the production of reflexive paratexts that refrain from overt criticism of cis-heteronormativity. The article contributes to an understanding of translational queer fandom in China by arguing that groups such as Wanwan not only foster a dedicated fan community and a "by queers for queers" world, but also bridge the communication gap between queer communities and cisheteronormative groups without exacerbating the cultural and ideological tensions that might otherwise set them apart.

urn:nbn.de:hbz:38-74796 www.zerl.uni-koeln.de <1> Wie im hier zu rezensierenden Buch angeführt wird, ist die Unverständlichkeit des Rechts zwar ein weithin geteilter Gemeinplatz, auch auf dem Gebiet der Rechtslinguistik.; empirische Studien dazu, wo die Probleme bei der Aufgabe tatsächlich liegen, Rechtstexte zu verstehen, sind dagegen rar. Die linguistische Betätigung mit der Sprache des Rechts findet in ihrer Mehrheit im Bereich der Systemund Registerlinguistik (Untersuchung der Verteilung und Verwendung bestimmter sprachlicher Einheiten, wie z.B. MINÁRIKOVÁ 2006), im Bereich der kontrastiven Textund Textsortenforschung (z.B. ENGBERG 1997) oder auf dem Gebiet der Untersuchung kommunikativer Interaktion vor Gericht (z.B. die Arbeiten in HOFFMANN 1989) statt. Verständlichkeit wird dabei oft als ein von untersuchten Sprach-, Text-oder Dialogstrukturen abgeleitetes Thema behandelt (wie in den drei genannten Arbeiten), oder eben auf übergeordneter Ebene als fast philosophisches Thema abgehandelt: Ist Rechtsverständlichkeit möglich? Ist sie notwendig? An wen wenden sich die Gesetze? Arbeiten, die sich mit den tatsächlichen und ermittelbaren Grundlagen des Verstehens beschäftigen, sind dagegen seltener. Beispiele solcher Arbeiten sind Busse 1992 und Felder 2003, die sich beide hauptsächlich mit Bedeutungskonstruktion in juristischer Kommunikation und mit den dahinter liegenden Wissensrahmen beschäftigen. Aber auch bei diesen beiden Arbeiten wird primär mit Texten und nicht mit empirischen Erhebungen bei Kommunikationsteilnehmern gearbeitet. Anders dagegen bei den Arbeiten von Karin Luttermann (z.B. LUTTERMANN 2001a, 2001b), die empirisch durch Befragungen das Wissen auch von Laien zu den von ihr untersuchten Rechtsbegriffen erfragt. Hier ist eine empirische Untermauerung der Aussagen zu den Verstehensgrundlagen eindeutig gegeben. Die Untersuchung, die in dem hier zu rezensierenden Buch vorgestellt wird, geht noch einen Schritt weiter als zur Ermittlung der Verstehensgrundlagen, und darin besteht ihr besonderer Wert: Sie untersucht empirisch den Prozess der Lösung eines Vermittlungsproblems, dessen Lösung das Verstehen eines Rechtstextes voraussetzt. Es handelt sich dabei um eine prozessorientierte Studie, die Aufschluss über auch praktisch relevante Aufgabenlösungen in der gesellschaftlichen Wirklichkeit geben soll. Mit diesem Untersuchungsdesign unterscheidet sich die Arbeit wohltuend von der großen Mehrheit von Arbeiten zur Rechtsverständlichkeit. <2> Im einleitenden Kapitel wird die Rolle von Sprache und von Texten im Allgemeinen für das Erzielen von Verständnis und Verständlichkeit überblicksartig darlegt. Dieses Kapitel bildet sozusagen den übergeordneten theoretischen Rahmen für die Darstellung der Untersuchung und enthält auch einen knapp gehaltenen Überblick über den Stand der Forschung. Das Hauptgewicht des Buches liegt aber nicht in der Rahmendarstellung, sondern auf einer recht detaillierten Darlegung des Vorgehens bei

Este relatório de estágio tem como objectivo a descrição e análise do trabalho de tradução de manuais de segurança, que foi realizado no Instituto Superior de Ciências Policiais e Segurança Interna (ISCPSI), em Lisboa, no âmbito do estágio do Mestrado em Tradução. Em particular, para além da tradução propriamente dita de um dos manuais, reflecte-se sobre alguns problemas que surgiram e a forma como os mesmos foram solucionados. O relatório está dividido em três capítulos. O primeiro capítulo é dedicado à caracterização do estágio, nomeadamente à forma como o mesmo decorreu, bem como à apresentação da entidade de acolhimento e dos textos traduzidos. No segundo capítulo, apresento aquilo que é a tradução sob a perspectiva de vários autores, focando-me na teoria do skopos, na teoria da equivalência e na teoria funcionalista. No terceiro e último capítulo deste relatório, apresento e analiso algumas questões que surgiram durante a realização da tradução, nomeadamente de origem lexical e...

The present study aimed to examine kinetic units, implicature, and coherence in Persian audio descriptions. To this end, 10 Persian audio-described movies, totaling 1,004 minutes, were analyzed, and their audio descriptions (ADs) were documented, resulting in 3,485 records. These records were filtered for descriptions related to characters' movements, yielding 2,095 ADs, which were analyzed in three phases. First, the type of kinetic unit in each AD was identified. Second, the implicature of kinetic units was examined to determine whether it was included in the ADs or ignored. The final phase addressed coherence in ADs. The results revealed that gesture was the most frequent kinetic unit in Persian ADs, followed by manner and posture. Moreover, 96% of kinetic units lacked implicature, and only 2.5% of implicatures related to characters' movements were ignored in audio descriptions, which does not raise serious concerns about accessibility for blind and visually impaired audiences. Regarding coherence, 97% of Persian ADs were found to be coherent, highlighting the substantial accessibility they provide to their target audience. However, accessibility was not solely contingent upon linguistic and pragmatic factors. Technical challenges, such as background music overshadowing ADs, posed additional barriers to media accessibility.

The translation of cultural references has taken centre stage in translation studies in the last few decades, particularly since the cultural turn observed in translation studies from the 1980s onwards. With the emergence of audiovisual translation (AVT) as an increasingly important subfield of translation studies, new tailored typologies of cultural references and corresponding translation strategies started appearing at the turn of the century. This paper investigates the interplay between the multiple sets of challenges faced by interlingual subtitlers dealing with source texts where cultural references abound, through a case study of the subtitles in English and Spanish of the French series "Call My Agent" ("Dix pour cent"). Relying primarily on Newmark's classification (1988) of culture-specific items (CSIs) and Pedersen's typology (2011) of translation strategies for extralinguistic cultural references (ECRs), I provide a contrastive overview of the strategies used for the translation of cultural references in both languages. The results obtained show that foreignisation prevails in both English and Spanish, and that French cultural references with high cultural significance (e.g. cuisine, fashion and cinema) are more likely to be foreignised.

In the era of generative artificial intelligence (GenAI) and large language models (LLMs), translation expertise is experiencing significant transformations. This chapter compares findings from a 2004 Spanish survey and a 2024 Chinese survey to explore the evolution of key abilities, skills, and knowledge (ASKs) essential for professional translators. By analyzing data from Chinese master’s students and professional translators, the study identifies 12 prioritized ASKs, including language proficiency, domain knowledge, technological proficiency, and professional soft skills. The results reveal shifts in the perception of translation expertise, highlighting the increased importance of professional competencies and well-being, alongside the integration of technology into daily practice. The chapter emphasizes the need to update translation curricula to reflect these changes and underscores the enduring role of human translators in an AI-enhanced environment. Implications for translator education and professional development are discussed, offering an updated model of translation expertise tailored for the GenAI era.

This article explores the use of streaming (live broadcasts) on the YouTube platform as a tool for teaching advanced spoken German. It presents the stages of organizing streams with native speakers, the method of their didactic adaptation, and examples of tasks aimed at developing lexical competence. The study concludes that streaming is highly effective in engaging students in learning the German language

Duale Untertitel zeigen beim Sichten audiovisueller Medien die gesprochene Sprache der Tonspur gleichzeitig im Original und als Übersetzung an. Da DVD-Player und Fernsehgeräte normalerweise keine Funktion besitzen, mit der sich duale Untertitel zuschalten lassen, wird zuerst beschrieben, wie dies am Computer mit spezieller Software dennoch gelingt. Dann werden 36 empirische Studien referiert, die die Wirkung von dualen Untertiteln erforscht haben. Der Beitrag kommt zu dem Ergebnis, dass sie für den Unterricht nur begrenzt nützlich sind, aber einen großen Wert für das autonome Lernen außerhalb des Unterrichts haben.
Dual subtitles show the spoken words of the audio track simultaneously in
the original and as a translation when viewing audiovisual media. Since DVD players and TV sets usually do not have a function that allows dual subtitles to be switched on, the paper first describes how this can nonetheless be done by using a computer and special software. Then 36 empirical studies are reviewed that have investigated the effects of dual subtitles. The article comes to the conclusion that they are only of limited use for the classroom but have great value for self-directed learning outside the classroom.

Interlingual subtitling is a popular mode of audiovisual translation in the Arab world and a manifestation of linguistic and intercultural communication that yields a wide range of audiovisual products exchanged overseas, among which, sitcoms. Presumably, sitcoms are intended to be primarily humorous and entertaining for both the source audience and the target viewers, and usually it is the punch line, that is the last few words of a joke, that makes it funny to the audience. In case of television and radio comedy, a canned laughter under the form of a recorded laughter is systematically used after punch lines to accentuate the humor intention and trigger the laughter effect. However, subtitling humor from English into Arabic is polysemiotic and proves to be challenging due to some linguistic and pragmatic differences between both languages. This research investigates humor in one of the most outstanding American sitcoms, that is Friends. The aim of this research is to examine the pragmatics of humor by identifying the different humor types in English-Arabic subtitling of sitcoms and their corresponding pragmatic transfer type using an inductive qualitative research method. Based on the theoretical framework of Raphaelson-West (1989) that advocates three types of humor; namely cultural, universal and linguistic; the analysis has been conducted over 33 episodes of Friends to analyze the translation of punch lines in Arabic. Results have showcased that Raphaelson-West (1989) threefold taxonomy has unfolded 9 other subtypes of humor that correlated with either negative or positive pragmatic transfer, and revealed that universal and linguistic humor were successfully transferred to the target language except for the phonological humor type. Cultural humor involving idioms and cultural concepts, however, proved to challenging, literally translated and devoid of humor. Particularly, the transfer of taboo-based humor and inferred humor are conditioned by understanding and recognizing the pragmatics of punch lines. The findings would contribute to existing literature and research on interlingual subtitling and humor studies.

This study presents a didactic sequence based on audiovisual translation tasks to address AI-related challenges in translation education. The activity aligns with the EMT competence model and the TRADILEX methodology, aiming to enhance C1-level English proficiency, cultural mediation, reverse translation and humour translation skills among students enrolled in a Multimedia Translation course taught in a Spanish higher education institution. This is achieved through the subtitling of a humorous animated video (Spanish-English) that explores AI's limitations regarding linguistic nuances, contextual interpretation, and copyright issues. Given the nature of the selected video, participants also engage critically with social issues related to professional translation. The proposal underscores a critical dilemma faced by Translation and Interpreting educators: embracing AI for its pedagogical benefits while mitigating the risk of overreliance which may hinder core linguistic and cognitive skills, to ensure a responsible and ethical integration of technology. Thus, the proposed didactic sequence effectively combines audiovisual translation with translation training, while addressing AI's impact and reinforcing essential translation competencies. Empirical findings from an ad hoc questionnaire provide insights into students' perceptions of their learning experience and professional development. Students' positive self-assessments indicate confidence in their skills, a crucial factor in an industry undergoing technological disruption.

III Congreso Hispanoamericano de Traducción Audiovisual (HispaTAV). Universidad a Distancia de Madrid (07/11/24-08/11/24)

La integración de la Traducción Audiovisual Didáctica (TAD) es un método favorable para la enseñanza y aprendizaje de lenguas extranjeras (Fernández-Costales et al., 2023; Talaván & Lertola, 2022). En los estudios de Traducción Audiovisual (TAV), la audiodescripción (AD) también es una herramienta ideal para el aprendizaje de lenguas extranjeras (Carreres & Noriega-Sánchez, 2021; Bausells-Espín, 2022; Navarrete, 2018; 2021; 2022; Plaza-Lara & Gonzalo, 2022; Torralba et al., 2022; Torralba & Pintado Gutiérrez, 2024). Nuestra experiencia docente nos permite corroborar la validez de la AD como una modalidad de TAV compatible no solo en la adquisición de lenguas extranjeras, sino también en el aprendizaje de lenguas nativas, así como el aprendizaje y práctica de la traducción.
Nuestro trabajo se basa en la realización de una aplicación de la AD en el aula de traducción durante un año académico (septiembre 2023 - junio 2024) con un estudio en dos asignaturas consecutivas de traducción de la Universidad de Lleida. A partir de un enfoque multilingüe de competencias lingüísticas y traductológicas integradas y el trabajo bidireccional en dos lenguas (L1 y L2) con estudiantes de traducción de último curso sin previa experiencia con la AD, se puso en práctica una iniciativa que consistía en dos unidades didácticas consecutivas y en línea incluyendo la TAD, en particular la AD interlingüística, a partir de dos modalidades (teatro y cine/televisión). El alumnado trabajó las unidades didácticas de manera asíncrona, fuera del aula y sin la supervisión directa de las docentes durante todo el proyecto.
El objetivo principal de este estudio es mostrar las percepciones del alumnado en el aprendizaje de lenguas después de la implementación de las dos unidades didácticas durante 9 meses. A partir de encuestas cualitativas y cuantitativas, registramos mejoras en las competencias de expresión y recepción, así como en las competencias traductológicas de una unidad didáctica a la otra, lo que nos indica que el multilingüismo es una eficaz herramienta de integración de competencias en la adquisición de lenguas. La importancia del multilingüismo también se refleja en el interés que mostró el alumnado en la práctica y profesionalización de sus lenguas nativas, y la indistinta elección de combinaciones lingüísticas, tanto en texto escrito como oral, y tanto en traducción directa como inversa.

FUN FOR ALL: 7th International Conference on Game Translation and Accessibility. Autonomous University of Barcelona (30/01/25-31/01/25)

The side-scrolling platform and obstacles videogame Donkey Kong Country released by Rare and Nintendo for the Super Nintendo Entertainment System (SNES) in 1994 is still remembered (and played) today for its groundbreaking 3-D graphics, high-quality animated characters and memorable soundtrack composed by David Wise. In this game, Donkey Kong and his nephew Diddy Kong go over seven different worlds (Kongo Jungle, Monkey Mines, Vine Valley, Gorilla Glacier, Kremkroc Industries, Inc., Chimp Caverns and Gangplank Galleon) and must complete a journey of 40 levels of various themes (jungles, underwater reefs, caves, mines, mountains and factories) with the goal of recovering Kong's banana hoard that villain and leader King K. Rool stole with the help of his Kremling Krew.
A recurrent aspect in Donkey Kong Country's level map names is the presence of play on words with characters' names (e.g., Very Gnawty's Lair, Necky Nutmare) and literary devices, such as alliteration (e.g., Ropey Rampage, Bouncy Bonanza, Temple Tempest) and assonance (e.g., Slipslide Ride, Vulture Culture), sometimes combined to form onomatopoeia (e.g., Reptile Rumble). Originally, the 1994 Super Nintendo PAL format of the game did not include Spanish as a playable language, but this situation changed in the 2003 Game Boy Advance (GBA) version of Donkey Kong Country in which Spanish not only appeared in Cranky Kong's tips and tricks, Funky's Flight and Candy's Save Point locations, but also in the worlds (e.g., Jungla Kongo, Minas Mono, Valle Liana) and level map names (e.g., Jungla Hijinxs, Travesuras de Coral, Barriles Semáforo, Callejón de Hielo).
In the Spanish GBA version, some level names reproduce alliteration (e.g., Lío de Lianas, Templo Tempestad) and onomatopoeia (e.g., Estruendo Reptil), thus maintaining the original sound effects. Nevertheless, the Spanish version of the game is exemplary of literal translations that focus on preserving the theme of the level rather than musicality (e.g., Charca Venenosa, Dilema de Antorchas, Viaje con Truco). In addition to this, original names of characters are kept untranslated. As a result, wordplay is not transferred in Spanish (e.g., Guarida de Gnawty, Locura de Necky, Destrozo de Gnawty, Estruendo de Queen B). Compared to the SNES videogame, the Spanish GBA version offers a translation of level names. In most cases, the theme of the level is clear in Spanish, but sound effects and wordplay are not always translated. Since all level names contain similar structures (i.e., repetition of sounds and letters), the use of Artificial Intelligence (AI) is appropriate in the search for options that follow these patterns. As shown in the AI plausible solutions that combine alliteration and level themes (e.g., Estanque Envenenado, Líos de Luz, Travesía Tramposa), AI becomes a helpful tool to reproduce literary devices and wordplay in the Spanish translation of Donkey Kong Country's worlds and level names.